Live, Video: Find classical music concert, opera, ballet and dance reviews | Duncan Ward

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

The French horn is the real winner in Bremen as Ben Goldscheider continues to expand the horn repertoire and bring his instrument to a wider audience. 

Duncan Ward leads a varied programme from Bartók and Janáček to Chausson, closing with a benchmark performance of La Mer. 

The  Zurich Chamber Orchestra gives fine performances of works by three leading 20th-century British composers in Zurich’s Tonhalle.

The Royal Northern Sinfonia under Duncan Ward performed works by Robert Schumann, Hector Berlioz and Louise Farrenc. 

Brett Dean's operatic reworking of Shakespeare's Hamlet receives its German premiere in a powerful new staging by the work's librettist Matthew Jocelyn.

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

What is the link between Bernstein’s criticism of American consumerism and MacMillan's biblical tale?

A shimmering account of Debussy's Jeux was followed by a delectable reading of Poulenc's Concerto for two pianos. Conductor Ward delivered a convincing performance of Prokofiev's Fifth Symphony.

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

Mariame Clément’s Glyndebourne production of Don Pasquale, revived here for the 2015 Tour, delivers its lesson particularly harshly. 

The children's Barber of Seville is too severely cut to have any substance, but fabulous playing and conducting, stellar young soloists, and an imaginative staging make it a fun afternoon.

John Woolrich is a publically undervalued contributor to British musical life. This evening’s concert attempted to celebrate as many of the man’s musical guises as possible.

David Hermann a la bonne idée d'inscrire l'opéra mozartien au temps des crises majeures du premier XXe siècle, mais la machine à jouer finit par tourner à vide et la distribution peine à s'épanouir.

Pour le plus grand bonheur du public, l'Orchestre des Jeunes de la Méditerranée se réunit de nouveau au Grand Théâtre de Provence après une session 2020 complètement à distance.